movement research is one of the world's leading laboratories for the investigation of dance and movement-based forms. Valuing the individual artist and their creative process and vital role within society, Movement Research is dedicated to the creation and implementation of free and low-cost programs that nurture and instigate discourse and experimentation. Movement Research strives to reflect the cultural, political and economic diversity of its moving community, including artists and audiences alike.

This meeting looked into Movement Research’s existence as a theoretical model of openness and experimentation, and the fact that Movement Research doesn’t dictate but rather creates a space in which to follow one’s own intention or aesthetic. Speakers and guests questioned what shifts have occurred in the role MR plays for us as dance artists and in the culture at large, whether there is a tension between the individuality and the collectivity that exists in the MR community of practice, thought and doing, and the making/marketing of our identities. As well as the role that the dancer/dance-maker play in an age that valorizes and fetishizes making.

This is a Movement Research Studies Project: “Town Hall Follow-Up: Alternative Economies,” moderated by Kathy Westwater and including panelists, Ilona Bito, Liliana Dirks-Goodman, and Tamara Greenfield. This event took place June 25, 2013 at Josie’s.

In a follow-up discussion to the 2012 Movement Research Town Hall, this conversation looked deeper into structures and alternatives that have manifested within the recent and current dance economy. Moderator Kathy Westwater, panelists and attendees reflected upon different ongoing conversations to glean further insights and understandings on the topics of value, money, time and dance-making.

In partnership with Crossing the Line Festival, and copresented by the Museum for African Art

Friends and artistic collaborators, director and choreographer Faustin Linyekulaand stage directorPeter Sellarscome together on the first anniversary of Occupy Wall Street to speak about each other’s work and the power of the arts as an agent for social and political change.

"...careening astronauts and bank clerks glancing at the clock before lunch; actresses cowling at light-ringed mirrors and freight elevator operators grinding a thumbful of grease on a steel handle: student riots; that dark women in bodegas shook their heads last week because in six months prices have risen outlandishly; how coffee tastes after you've held it in your mouth, cold, a whole minute." --Samuel R. Delany, Dhalgren

Hurricanes, transit strikes, planned and unplanned explosions, occupations... Bike lanes, bus lanes, protest pens, command centers... Pedestrian zones, redevelopment zones, disaster zones... How is the landscape of our city changing and what are the possibilities for creative response? Looking at the shifting social, economic, and literal topography of our city through the frame of transformative events and policy decisions, we ask the question: what is the role of artists, activists, and all citizens in conceiving, creating, and defending (a notion of) public space? And conversely, what is the role of public space as a partner in creative expression and action? luciana achugar, Randy Martin, Jenny Romaine, and Niegel Smith reflect on our shifting urban landscape and offer opportunities to imagine how we might enact our city in the future.

Dramaturgy as Practice/Dramaturgy in PracticeConceived by Amanda Loulaki and Susan Mar Landau

Center for Performance Research, May 5, 2013.

A roundtable discussion with Thomas F. DeFrantz, Susan Mar Landau, André Lepecki and Katherine Profeta. The dramaturg as an active participant in the conceiving and making of movement based works is a relatively new and evolving phenomenon, as well as one that can be both mysterious and suspect. Conceived as a two-part event, Dramaturgy as Practice/Dramaturgy in Practice will explore both the ontology and the workings of dance dramaturgy today. Precluded by a short history of the topic, the first event will bring together a diverse group of working dramaturges to discuss their experiences and the possible implications of their role in the choreographic process. The second event, to take place in the fall, will open the conversation to include choreographers in an in depth discussion on the practice of dramaturgy.

Improvisation as a practice, and particularly the rich history of CI, has spread throughout the world in various permutations and with multiple offshoots, evolutions, hybrids, specializations, etc. With improvisation in some form or another as a now ubiquitous presence in much of contemporary dance, how are people grappling with the various practices of improvisation in the context of contemporary performance? How do we situate our dancing in the larger world? Is it performance? Practice? Who is it for and how does it serve and/or inspire us and others? What tools and materials are we using — and toward what ends?

Curators on Process and the Matter of Inclusion. To feel a part of something. Communal, to have community. To be asked, invited in, to ask to be invited in. Access, entry. While the role of curator and the process of curation holds as much artistry as the making of dance and performance, we hone in on an equally important need for a touch of transparency surrounding the presentation of dance and the body. What issues and concerns arise inside of a shifting community where representation is crucial for belonging and sustainable support? What are we doing to reach out to more artists? Where are those artists? Who are those artists? What are the complexities that arise while supporting the sustainability of an artist? What responsibility do we have to an idea of cultivating and supporting "newness?” Where is the body inside all of this? How do we digest being on the inside or outside of something spiritually, aesthetically, emotionally and academically?

Movement Research in Residence at the New Museum: Final Presentations for Rethinking the Imprint of Judson Dance Theater 50 Years Later.

December 16, 2012 at the New Museum.

On September 16, Movement Research (MR) solicited questions from the greater MR community with regards to the imprint that Judson Dance Theater (1962--64) continues to make on contemporary performance. Four questions were selected by attendees as focus topics for further investigation by artists nominated to lead a series of week-long performance laboratories and open rehearsals at the New Museum. Tonight, those artists share the results of their investigations for further consideration in an evening filled with performance, experimentation, and lively debate.